KORAI ÖRÖM

This Hungarian band is famous for their "live" shows and i'm sure there must be people dancing when they play.The music has this modern techno beat as Joolz mentions in his review.And that does bother me a little,just a little though because this is eneretic and quite powerful music.I'm still reminded of OZRIC TENTACLES although this band really employs a lot of musicians,vocalists and some instruments you wouldn't normally associate with this style like trumpet,jews harp,sitar and more.Lots of percussion as well. No song titles as usual.Song 1 has this atmospheric intro before it kicks in after a minute.It seems to get louder after 3 minutes.This is all about the beat and rhythm.It settles with female vocals before 4 minutes. Song 2 opens with female vocals.Male spoken words come in repeating "You can stop the tunes but don't stop the beat".The female vocals return sounding very ethnic.Male vocals 3 1/2 minutes in and i like the guitar that follows.Excellent tune. Song 3 opens with a U2 The Edge-like guitar melody which i think is an ethnic instrument or keys.A beat comes in and then it gets a little heavy 2 minutes in.That heaviness comes and goes.Not a fan of the male vocals at all. Song 4 is almost haunting to open until a minute it when it kicks in with a heavy beat.The guitar comes in making some noise.Vocals after 4 1/2 minutes are again poor.It blends into song 5 which has this odd sounding instrument throughout. Song 6 opens with guitar then a beat comes in.Nice bass.Trumpet before 2 1/2 minutes.Male vocals 4 minutes in.Organ late. Song 7 has this beat with trumpet a minute in.Keys come in as well. Song 8 is ethnic sounding with spoken words.It kicks in quickly though.Themes are repeated. Song 9 is the longest at 9 1/2 minutes.Some atmosphere early as spoken words come in followed by a beat. Good album but it fails to captivate me like their "Live In 2000" record does.

I am a huge fan of Korai Orom. 1997 was the first album introduced to my ears by a good friend from London. Delighted with the first track, I couldn't wait to experience the remainder. And 'to experience' their sound is the best way to describe this listening pleasure. The percussion is intense, the melodies wavelike, crescendos, quiet, and then explosive. High energy, artistic in the extreme, and a sound I do not tire to hear. Layers of sounds, laced together to deliver very intelligent, complex compositions. The beats are addictive, the flute dreamlike, drums hypnotic and complete music that is a progressive study for the ears. Not a great fan of purely electronic sounds ,(however, I do listen to Ozric Tentacles and enjoy them) I was overwhelmed by the myriad of instruments Korai introduce to their tracks and mix it with the human chants and sounds from Mother Nature. A very interesting band, in that they do not name their tracks and don't really care too much about that 'naming factor', for me that just adds to their genuine artistic nature. Korai in my mind, are genuine artists, discoverers of art, and extremely muse influenced musicians. Alas I am the proud owner of nearly all their albums. As in the opening lines of Porcupine Tree's 'Signify', 'kick your shoes off, put your feet up, and lean back and get yourself a cup of coffee or something, and just relax and join us in enjoying some very quiet, and relaxed, romantic music for a couple of hours'.

Even with the first album they try to confuse us because abandoning the song titles. They hold up this trademark until today by the way. This makes it more difficult to point out special tunes. Never mind - they have other trademarks too which are more comfortable by all means. So to say the hypnotic rhythms which have a native folk/world music background provided with a high proportion of tribal percussion work. And you will detect only voices - not vocals really - this is basically an instrumental album.

KORAI ÖRÖM is not repeating the music on every release (if you don't go forward - you go backwards). So most of the songs from this debut are initiated by an atmospheric intro for example before they invite you to dance. Track 4 and 6 are the exceptions totally captured by exotic instruments like jew harp and didgeridoo. Keyboard/synths are also playing an important role and the guitars warrant the psychedelic resp. spacey element. A trumpet appears here and there what even provides a jazzy avantgarde touch, for example on track 1 and 2 which both have the makings of a masterpiece - somewhat light-footed in a very happy mood.

This album is hardly comparable with other band's efforts because of the high world music component. Unfortunately they cannot hold the high standard of the first songs during the whole album. However - 3.5 stars, a good start by KORAI ÖRÖM even if it might be treated as a little bit monotonous by some listeners ... oh yes ... speaking about trademarks ...

Is prog dead today? Of course not, with albums like Korai Öröm's 2005 released in the past few years. Forget the tag "Psychedelic/Space Rock". This is far too eclectic and creative to be grouped into a genre dominated today by clones of Hawkwind and the Ozric Tentacles. Sure, sometimes it is reminiscent of Pink Floyd, Kingston Wall, and Santana to name a few, but you need not worry, when you listen to 2005, you won't get served something you've already heard before.

From start to beginning, a swirling mixture of ethnic beats, mesmerizing soundscapes, "trippy" psych music, and a heavy, driving jazzy backbone will take you on a ride that few progressive albums can even come close to. It's intense the whole way through and never drifts away into uninspired jams, making this the quintessential space rock album in my opinion. None of the other bands in the genre have seemed to reach the level of perfection Korai Öröm achieved here, and it's really a shame they aren't more well known. I would really recommend this to all fans of progressive rock because not only is it a definite masterpiece and a pinnacle of the genre, but the music is such an eclectic mix that there should be something for everyone.

This Hungarian band delivers quite original prog, not really my music but worth to review. The first track has echoes from The Doors their mindblowing epic composition The End but the Eastern sounding guitar and sitar and exotic percussion also evokes Ozric Tentacles. The other four songs are build upon catchy and hypnotizing rhythms (lots of percussion) with many samples and different instruments, from electric guitar, organ and trumpet to sitar and the Australian didgeridoo. In general Koram öröm their music is hard to compare to any other progrock band, it sounds very special featuring warm, sultry and exotic atmospheres with some trendy beats (modern technique), very adventurous, fellow reviewer Sinkadotentree is even more pleased!

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KORAI OROM are from Budapest,Hungary.They play a psychedelic brand of prog that at times brings to mind OZRIC TENTACLES.This is a live recording,although the audience cannot be heard.The band for this recording consists of 8 people playing the music, including 2 percussionists and a drummer.As well as 4 permanent band members who do not play music at all but are the "Vision" part of the band.They are responsible for lighting,live video mix,slide shows and sound.These guys are famous for their live shows, and readily admit that their live shows are far better than their studio recordings.There is a great picture of the band inside that is priceless,they like to have a lot of fun you can tell. As per usual none of the tracks are titled,so i'll refer to them by the numerical order they appear in. The first song opens with the sound of crickets and birds,as an Eastern sounding melody plays including acoustic guitar.90 seconds in the pace and volume is increased to a driving,catchy beat.Nice guitar melody as well.Lots of flute 7 minutes in,as the guitar gets quite heavy.The song ends with the melody from the intro.Nice.The second song begins with drums,keys and guitar,creating another wonderful soundscape.This is hypnotic stuff man.Some soft vocals are used for effect,and the song ends with some good guitar.The third song opens with drums and percussion.There is some atmospheric guitar a minute in.This is the shortest song clocking in at just over 2 minutes.The fourth song opens with the sounds of flowing water,as synths and what sounds like morrocas come in.Guitar follows,then pounding drums,forming an amazing combination.The guitar sounds incredible,and the drumming and percussion is really what this band is all about.The fifth song has this vocal melody throughout,including a lot of laughing.The keys and percussion dominate with horns coming in.The sixth song features guitar, percussion and synths.More trumpet,and i love the sound of the spacey ending. This record has me wanting to hear more,i was reminded of Krautrock at times and would like to check out some of their early stuff.Highly recommended.

One of the best albums from Korai Öröm ! Sound & Vision 2001 features top-notch instrumental modern psychedelism. They played a music quite familiar to Ozric Tentacles, but not in an agressive and heavy way. The hungarian band is rather soft, smooth and more ethnic than their colleagues from United Kingdom.

The records opens with I, an ambient tune with echoes of Ennio Morricone western soundtracks ! It evolves slightly with additions of percussions and floating guitars. II is the longest track of the disc and is completely different from the first song, more spacey and cosmic, and of course very relaxing. The next tune has an upbeat tempo, and could feature on a trip-hop release. Both jazzy and energic by moments ! But the real highlight here is IV, opening with a smooth and vaporous athmosphere to introduce an astonishing guitar part in the vein of the Shadows ! The second part of the song is very trance-ish and hypnotic ! Powerful ! This song alone shows the band's variety of influences. Back to the calm with V, a smooth ambient jazzy-rock tune. The album concludes with VI, the rockiest song fo the disc, featuring wah-wah guitars and oriental melodies.

With Sound & Vision 2001, Korai Öröm offers a very good modern psychedelic release. Songs are various and some passages are rather surprising but highly welcomed in this "ambient jungle". A re-discovery of the genre. Strongly recommended !

While still operating within a spacey-psych arena, the latin-rock backdrop of old has given way to a more modern techno-funky styled foundation on this most recent offering from Hungarian band Korai Öröm. It is a combination that works fantastically well, the bubbling synths and powerful breakbeats skilfully blending with a variety of acoustic instruments in a sophisticated integration of ethnic styles and electronics that is both infectious and stimulating. They never let things slide remotely near the boredom threshold, the groove constantly changing shape and reinventing itself.

Musically, it is more structured than in previous albums. The aimless trippy meandering that pervades much of the band's earlier work has been replaced by a sense of purpose, helped by short vocal passages, some by a lovely breathy female voice, and a variety of vocal sound-bites. Weaknesses are relatively minor nit-picking: perhaps some of the lead guitar runs are less than inspiring; sometimes the focus isn't strong enough [track 7 has a wonderful chirpy beat but sounds like it is a backing track with the vocal missing]; and, after the genius of 8, it ends a little lamely on the unfocussed and somewhat average 9.

Generally, though, these are glorious soundscapes that flow energetically, absorbing a variety of influences and spewing out an exciting hybrid that tickles the intellect while at the same time getting those feet moving. Tracks 2 and 8, both heavily tinged with Indian atmospheres thanks to vocals and sitar, are stunning masterpieces of space-psych as good as it gets, including some high-octane wall-of-sound 'space jammimg'. Overall, a 'must have' for space-psych fans with a penchant for modern beats and plenty of energy. Oh, and the didgeridoo and jaw's harp still get their turn in the spotlight. Highly recommended!

For this, Korai Öröm's third album, their sound has matured into an immediately more hard hitting affair that grabs you by the throat and says "listen to me". The ethnic influences are still there, but much less obvious as the band head away from ethnic-fusion towards the techno beats of later years, essentially setting the template for all their later work. The effects of adopting a 'sequencer and sampler' approach are readily discernable in some very unnatural sounds and overly formalised patterns, with a tendency to work inside an 8-bar box, a common failing of cut-and-paste sequencing. Which also contributes to the album's greatest failing - it is subject to too much undeveloped repetition with too little action.

Whilst this is by no means a bad album, it is one where the band is making a transition to a new way of working, but haven't yet perfected the process. Clearly, they have learnt a greater control of dynamics and musical colour using a more modern palette, but at the expense of some of the aspects that made their first two albums so interesting. Perhaps it could be said there are more 'stand out' moments [probably, but not necessarily, implying 'outstanding'] than before, but the converse is also true - while track 2 is a searing psyched-up space jam with screeching lead guitar and flute worthy of Hawkwind at their best, 1 & 3 are somewhat underwhelming.

The pounding rhythms and psyched guitars of Moroccan flavoured Track 6 produces the best slice of energetic space-rock on the album, but the 18 minute closer is the most classically psych track. This is essentially an extended jam, moving seemlessly [and somewhat slowly] through various phases from an initial tribal chant, ethereal flutes, eastern voices and spacey guitars, all underpinned by a continuous busy snare pattern that has long passed the irritating phase well before the track ends! A good album that hovers between two stools: not as 'ethnic' and organic as before; not as accomplished as they would become. Good, but not essential.

This is Korai Öröm's debut album, and a fine effort owing much to the organic textures of Brainticket and the more modern synths-and-samplers of Ozric Tentacles. These comparisons are valid, but the addition of unexpected instruments like brass, didgeridoo and jaws harp take them into the realm of ethnic-fusion veering through psych work-outs, via latin percussion to tribal-dance [think Baka Beyond]. It says something for the skill of the musicians that they can successfully combine elements from so many different disparate cultures and come up with a sound that is not only unique but entertaining too. Guitar, bass and drums form a familiar rock foundation for this mélange of sound, but surprisingly keyboards play a muted role.

Typically, the music employs slow atmospheric build-ups using ethereal flute and other ambient textures, leading to classic jams built on repetitive rock beats and delicate fills, though lacking the searing energy of bands like Hawkwind. Neither do the jams descend into endless wall-of-sound space-grooves as the traditional instruments are given space to breathe and flourish without ever becoming over-extended, while the power is often diffused by additional assorted percussion that accompanies many sequences.

The album abounds with exciting sounds and inventive ways of integrating them into a musical collage, yet ultimately it fails to be entirely satisfying, as if they have all these ideas but haven't quite worked out how they want to use them. Great for use as a backdrop for some other activity, but less stimulating as a listening experience than some of the band's later work. Partly, this can be attributed to lack of structure and vocals, and for me, is a common complaint with instrumental music of this kind.

Overall, an excellent album, but with few really stand-out moments to get the adrenalin flowiing, relying instead on atmosphere and subtlety to get its message across.